By Carl Wilson
Non-fans regard Céline Dion as ersatz and plastic, but to people who love her, not anyone will be extra genuine, together with her impoverished youth, her (creepy) manager-husband's fight with melanoma, her knack for howling out uncooked emotion. There's not anything cool approximately Céline Dion, and not anything smart. That's a part of her attraction as an item of affection or hatred — with so much critics and dedicated tune enthusiasts taking excitement (or at the least geeky solace) of their lofty contempt. This booklet records Carl Wilson's courageous and exceptional year-long quest to discover his internal Céline Dion fan, and explores how we outline ourselves within the mild of what we name stable and undesirable, what we adore and what we hate.
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Additional resources for Céline Dion's Let's Talk About Love: A Journey to the End of Taste (33 1/3 Series)
Barnum, was perhaps the first “blockbuster” event in American pop culture, and Lind would sing “Yankee Doodle Dandy” between Mozart and hymns. Parodies of opera arias were standard fare even in nineteenth-century minstrel shows, the words twisted into the pidgin “negro” speech invented by blackface comedians, as Lawrence Levine chronicles in his crucial study Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America (1988). The same held true for passages of Shakespeare, another popular nineteenth-century commodity.
Eurovision was made for Céline and she for it. She was the bookies’ favorite from the start. But her world-beating doesn’t stop at her status as arguably the world’s most-successful talent-show act. She emulated the likes of Whitney Houston by making sure that she had a Hollywood tie-in with each of her 90s English albums: in 1992 it was the title song, with Peabo Bryson, on Beauty and the Beast; to boost 1993’s The Color of My Love she sang “When I Fall in Love” on the soundtrack of Sleepless in Seattle; for Falling into You, it was Up Close and Personal; and of course Titanic for Let’s Talk About Love (though only by a whisker: James Cameron had to be talked into having a theme song, and Céline initially hated “My Heart Will Go On”).
Céline emotes too damply and aggressively to compare to chirpy Pat Boone, the Carpenters or ABBA. She is not mellow or cutesy. So she is not R&B, not vanilla, not “standards/Broadway,” not bubblegum, not country, only _________ • 52 • LET’S TALK ABOUT LOVE dabbles in classical “crossover”—what kind of music is it? ” Yet schmaltz is not firmly a genre—it’s a descriptor, or an adjective (“schmaltzy”) or a verb (“schmaltz it up”), applied to any musical moment of saturated, demonstrative sentiment.
Céline Dion's Let's Talk About Love: A Journey to the End of Taste (33 1/3 Series) by Carl Wilson